Sabato 25 giugno 2011, ore 15
S.a.L.E. Docks, Dorsoduro 265 Venezia
Scroll down for English version
La pratica del comune nella metropoli della crisi.
Gentrificazione, colonialismi, conflitti, arti e architetture.
L’idea è di analizzare concetto di metropoli nel contesto mutato della crisi globale.
I relatori sono stati scelti per presentare diversi punti di vista. Dal
ruolo dell’organizzazione dello spazio e dell’architettura di Israele
nei territori palestinesi, all’utilizzo dell’arte nel grembo delle città
globali dove è stato messo in pratica il dispositivo della
Creative-City.
Il Focus sarà dunque sull’architettura, l’arte e la pianificazione come
strumenti utilizzati all’interno di un campo di forze. Questo campo è
estremamente differenziato: da vere e proprie zone di guerra, fino ad
uno spazio in cui la creatività è catturata come vettore economico e
sociale per lo sviluppo urbano.
Una collaborazione tra S.a.L.E. Docks e Institut Ramon Llull in occasione di “180°”, mostra personale di Mabel Palacin. Padiglione della Catalogna e delle Isole Baleari alla 54 Biennale di Arti Visive di Venezia.
Segui lo streaming in diretta su global project
Speakers:
Decolonizing Architecture: (www.decolonizing.ps)
Our project (started in 2007 and based in Bethlem - Palestine) uses
architecture to articulate the spatial dimension of a process of
decolonization. Recognizing that Israeli colonies and military bases are
amongst the most excruciating instruments of domination, the project
assumes that a viable approach to the issue of their appropriation is
to be found not only in the professional language of architecture and
planning but rather in inaugurating an “arena of speculation” that
incorporates varied cultural and political perspectives through the
participation of a multiplicity of individuals and organizations.
Anthony Iles: (www.metamute.org)
Author of the book “No Room to Move Radical Art and the Regenerate City;
with Josephine Berry slater; Mute publishing; 2010). As the Creative
City model for urban regeneration founders on the rocks of the
recession, and the New Labour public art commissioning frenzy it
triggered recedes, Anthony Iles and Josephine Berry Slater take stock of
an era of highly instrumentalised public art making.
Focusing on artists and consultants who have engaged critically with the
exclusionary politics of urban regeneration, their analysis locates
such practice within a schematic history of urban development’s
neoliberal mode.
Breaking down into a report and a collection of interviews, this
investigation consistently focuses on the forms and, indeed, possibility
of critical public art within a regime that fetishes ‘creativity’
whilst systematically destroying its preconditions in its pursuit of
capital accumulation. How, they ask, is critical art shaped by its
interaction with this aspect of biopolitical governance?
Marti Peran: (www.martiperan.net)
Martí Peran is a faculty member of the University of Barcelona as well as a critic and curator.
He has collaborated with many contemporary art books and catalogues. He
was a member of the editorial board of “Transversal” (1996-2002).
Member of the editors team of “Roulotte”, he is also a collaborator in
newspapers and art magazines (Exit Express, Artforum International).
He has imparted different workshops on art criticism and curatorial
practices in different institutions. He has lectured in different
museums and universities (MACBA,Barcelona; MNCARS,Madrid;USP,Sao Paulo;
Trienale,Milano; CCEBA,Buenos Aires; Townhouse,Cairo; Contemporary
Art Center; Larissa; NYU, New York; Art Beijing; Jeu de
Paume,Paris;...)
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June 25 at 3 pm
S.a.L.E. Docks, Dorsoduro 265, Venezia
The Practice of the Commonwealth in the Metropolis of the Crisis
Gentrification, Colonialisms, Conflicts, Arts and Architectures.
The point is to analyse the concept of the city within the context of the global crisis.
The invited people have been chosen to highlight different points of
view. From the role of the organisation of the space and of Israeli
architecture within Palestine to the postion of art in the context of
the global cities where the device of the creative city was put to
practice.
So the focus will be on architecture, art and urban planning as instruments employed in a field of forces.
This field can vary from actual war zones to a space in which creativity
is captured as a capitalistic vector for the socio-economical urban
development.
A collaboration between S.a.L.E. Docks and the Institut Ramon Llull on the occasion of “180” the solo exhibition of Mabel Palacin for the Pavilion of Catalonia and the Balearic Islands at the 54 Venice Biennale of Visual Arts.
Follow the live streaming on: global project
Speakers:
Decolonizing Architecture:
Our project (started in 2007 and based in Bethlem - Palestine) uses
architecture to articulate the spatial dimension of a process of
decolonization. Recognizing that Israeli colonies and military bases are
amongst the most excruciating instruments of domination, the project
assumes that a viable approach to the issue of their appropriation is
to be found not only in the professional language of architecture and
planning but rather in inaugurating an “arena of speculation” that
incorporates varied cultural and political perspectives through the
participation of a multiplicity of individuals and organizations.
Anthony Iles:
Author of the book “No Room to Move Radical Art and the Regenerate City;
with Josephine Berry slater; Mute publishing; 2010). As the Creative
City model for urban regeneration founders on the rocks of the
recession, and the New Labour public art commissioning frenzy it
triggered recedes, Anthony Iles and Josephine Berry Slater take stock of
an era of highly instrumentalised public art making.
Focusing on artists and consultants who have engaged critically with the
exclusionary politics of urban regeneration, their analysis locates
such practice within a schematic history of urban development’s
neoliberal mode.
Breaking down into a report and a collection of interviews, this
investigation consistently focuses on the forms and, indeed, possibility
of critical public art within a regime that fetishes ‘creativity’
whilst systematically destroying its preconditions in its pursuit of
capital accumulation. How, they ask, is critical art shaped by its
interaction with this aspect of biopolitical governance?
Marti Peran:
Martí Peran is a faculty member of the University of Barcelona as well as a critic and curator.
He has collaborated with many contemporary art books and catalogues. He
was a member of the editorial board of “Transversal” (1996-2002).
Member of the editors team of “Roulotte”, he is also a collaborator in
newspapers and art magazines (Exit Express, Artforum International).
He has imparted different workshops on art criticism and curatorial
practices in different institutions. He has lectured in different
museums and universities (MACBA,Barcelona; MNCARS,Madrid;USP,Sao Paulo;
Trienale,Milano; CCEBA,Buenos Aires; Townhouse,Cairo; Contemporary
Art Center; Larissa; NYU, New York; Art Beijing; Jeu de
Paume,Paris;...)
S.igns.andL.yricE.mporium
Docks 265
Punta della Dogana
Venezia